18/10/2016

11/10/2016

This Saturday 14th October at 12 noon as part of Tusk Festival- I'll be providing specially made visuals for Wolfgang Voigt as he performs the latest in his 'Rückverzauberung' series:"...his Rückverzauberung series of gleaming art-pop ambience and frequently intense and disorientating minimalism. He brings the next stage of the series to TUSK, accompanied by live visuals writ very large across the oversized screen of the Northern Rock Foundation Hall. Voigt explores the fissures in the confluence of techno and hardcore minimalism, an old master producing something thoroughly compelling. "

13/08/2016

"Discographies don’t come much vaster than those of German producer and co-founder of the Kompakt label, Wolfgang Voigt, whose releases under pseudonyms including Gas, Mike Ink and many others run into the hundreds. Since 2008 he’s also been releasing under his given name and has been slowly evolving his Rückverzauberung series of gleaming art-pop ambience and frequently intense and disorientating minimalism. He brings the next stage of the series to TUSK, accompanied by live visuals writ very large across the oversized screen of the Northern Rock Foundation Hall. Voigt explores the fissures in the confluence of techno and hardcore minimalism, an old master producing something thoroughly compelling. Pitchfork said of Rückverzauberung 9: “The textured, nearly studious approach to repetition is unmistakably Voigt; even in a genre where it’s considered a kind of monastic virtue, few artists have done as much with the concept as he has, and this is the latest example of his finding quiet nirvana in the realm of the infinite.”

"...Rachel seemed like the person to provide the perfect visual foil to Wolfgang Voigt’s performance at TUSK this year, visually dressing the gargantuan stasis of his Rückverzauberung via the suitably vast platform of Northern Rock Foundation Hall’s enveloping screen and sound facilities."

28/02/2016

"Rachel Lancaster’s new paintings continue her interest in B Movies and in particular the recurring presence of Blobs. Isolated from their original contexts these strange forms act as an absurd stand-in for a human presence that is simultaneously sinister and comedic. Through the process of faithful, yet economic, reinterpretation in oil paint Lancaster’s seductive surfaces invite contemplation of fragments or moments within these weird lifeless objects whose original function was to somehow please an audience through spectacle, titillation and violence"